The British Folk Revival is the very first historical and theoretical work to consider the post-war folk revival in Britain from a popular music studies perspective. Michael Brocken provides a historical narrative of the folk revival from the 1940s up until the 1990s, beginning with the emergence of the revival from within and around the left-wing movements of the 1940s and 1950s. Key figures and organizations such as the Workers' Music Association, the BBC, the English Folk Dance and Song Society, A.L. Lloyd and Ewan MacColl are examined closely. By looking at the work of British Communist Party splinter groups it is possible to see the refraction of folk music as a political tool. Brocken openly challenges folk historicity and internal narrative by discussing the convergence of folk and pop during the 1950s and 1960s. The significant development of the folk/rock hybrid is considered alongside 'class', 'Americana', radio and the strength of pop culture. Brocken shows how the dichotomy of artistic (natural) versus industry (mass-produced) music since the 1970s has led to a fragmentation and constriction of the folk revival. The study concludes with a look at the upsurge of the folk music industry, the growth of festivals and the implications of the Internet for the British folk revival. Brocken suggests the way forward should involve an acknowledgement that folk music is not superior to but is, in fact, a form of popular music. The book will create lively debate among the folk music fraternity and popular music scholars, as well as folklorists and ethnomusicologists. A unique discography and history of the Topic Record label is also included.
'… includes a helpful bibliography and a valuable, detailed discography… Recommended.' Choice ’The book provides a well documented history of the folk establishment… I enjoyed this book.’ Lied und PopulÃ¤re Kultur ’I especially enjoyed the light of popular music studies that he shone on folk rock… Students of popular music will greatly appreciate Brocken's skilful application of well-known concepts to an area outside the usual Top Ten charts.’ Ethnomusicology Forum
Contents: Introduction: the early revivalists; Toward post-war Utopianism: the precursors and advent of the second Folk revival; Bert Lloyd and Ewan MacColl: a critique of the leading protagonists; Politics and obstinacy; Challenging Folk historiography: Skiffle as a pop aesthetic; Folk-Rock; Rituals of reatreat: Folk clubs, connoisseurs, hierarchies; What of the Folk scence now?; Bibliography; Discography.
Popular musicology embraces the field of musicological study that engages with popular forms of music, especially music associated with commerce, entertainment and leisure activities. The Ashgate Popular and Folk Music Series aims to present the best research in this field. Authors are concerned with criticism and analysis of the music itself, as well as locating musical practices, values and meanings in cultural context. The focus of the series is on popular music of the twentieth and twenty-first centuries, with a remit to encompass the entirety of the world’s popular music.
Critical and analytical tools employed in the study of popular music are being continually developed and refined in the twenty-first century. Perspectives on the transcultural and intercultural uses of popular music have enriched understanding of social context, reception and subject position. Popular genres as distinct as reggae, township, bhangra, and flamenco are features of a shrinking, transnational world. The series recognizes and addresses the emergence of mixed genres and new global fusions, and utilizes a wide range of theoretical models drawn from anthropology, sociology, psychoanalysis, media studies, semiotics, postcolonial studies, feminism, gender studies and queer studies.